Art in Development from Christopher Cozier

March 27, 2015 at 11:33 pm (Uncategorized) (, , , , , , , , , )

Currently his exhibition Gas Men can be seen from March 19 – April 30, 2015, in Galerie Françoise Heitsch, in Munich, Germany. On March 27 he participated in an artist conversation with Osei Bonsu during a Supporters of Iniva (SI) – Open Forum Event, in London, Great Britain. And in August-September 2015 he will be an artist in residence in Miami, USA, as part of the Cannonball’s Residency Program. Christopher Cozier is everywhere, not limiting himself to one point in place and time. That’s why we re-share this article by Rob Perrée, written for SAX 9.

In February 2014 Christopher Cozier (Port of Spain, 1959) had his first gallery exhibition in the Y Art & Framing Gallery  in Port of Spain, the city where he was born and where he lives. I can imagine that with a career of thirty years behind you, you don’t immediately start cheering for such a happening. It is after all, about time. But that was not the reason why he had mixed feelings about it, why had the need to talk about it apologetically. It became even more difficult when the exhibition turned out to be not just a public success, but also a financial success. It made him uncomfortable. Money is necessary and is usually of great help, but for his work process and for the presentation of his work, money is never a deciding factor. That premise seemed disturbed, outside of himself. “Maybe this exhibition marks a change in attitude towards contemporary art here. Then at least it might have been good for that purpose.”, was his ultimate and (temporary) final justification.

The unease however, was not wiped out by it.

Christopher Cozier in front of his work / PHOTO Nadia Huggins

Christopher Cozier in front of his work / PHOTO Nadia Huggins

Christopher Cozier, ‘You Know If Them Tings Does Bite?’, ink on paper, 29x50inch / PHOTO Courtesy Christopher Cozier

Christopher Cozier, ‘You Know If Them Tings Does Bite?’, ink on paper, 29x50inch / PHOTO Courtesy Christopher Cozier

Cozier showed drawings (“drawing is my handwriting”), screen prints, editions and works in which various techniques are combined. They were works full of references, texts and images ran into one another, sometimes the texts were the image and the images were reminiscent of scenes from a comic strip. Sometimes they seemed like notes on a white sheet of paper or sketches waiting to be further worked out. In the cases where there was any color involved, it was sporadic or pale. A number of works could have easily stood alone, others stood with each other because they were positioned according to time or because together they wanted to tell a story. By paying attention to the details you can discover a lot of humor in such a story.

Cozier would have preferred to see the exhibition as a kind of display of work material, of derivative works, of remnants or of works in the making. As such he failed to take into account an important aspect of his talent: not only does he work from a solid content with various references, but he also has a good feel for strong images. He once started as a graphic designer, and he has never completely lost that graphic signature. That signature naturally knows, that it has to be striking. And when in addition to this, the works are hung neatly framed and set up in a white box, that element is strengthened even further.

I can imagine that he might have ambivalent feelings about that.

Christopher Cozier / PHOTO Courtesy Christopher Cozier

Christopher Cozier, ‘Hiding To Eat’, ink on paper, studies for ‘The Arrest’, 13x18inch / PHOTO Courtesy Christopher Cozier

Christopher Cozier, ‘Hands Up (To The Left)', ink on paper, studies for ‘The Arrest’, 13x18inch / PHOTO Courtesy Christopher Cozier

Christopher Cozier, ‘Hands Up (To The Left)’, ink on paper, studies for ‘The Arrest’, 13x18inch / PHOTO Courtesy Christopher Cozier

Christopher Cozier is next to a man of image, a man of words, of texts, of content, of original ideas which are, at least in his head, always linked with other ideas. For him, a story or a thought is never isolated or something that happens only once. There are other stories from present time, but also from the past, that go along with it. Serious but also funny. Profound, but also commonplace and from the streets. He is an encyclopedic artist.

He collects data and events, he makes notes about moods, about the things that he sees, about the thoughts that present themselves to him at a certain moment. “It’s the sometimes mundane, sometimes crazy everyday of an individual living in Port of Spain.”

Christopher Cozier, 'Development pattern' / PHOTO Courtesy Christopher Cozier

Christopher Cozier, ‘Development Pattern’, mixed media on paper, 36x52inch / PHOTO Courtesy Christopher Cozier

Christopher Cozier, 'Development pattern' / PHOTO Courtesy Christopher Cozier

Christopher Cozier, ‘Development pattern’ / PHOTO Courtesy Christopher Cozier

In his long-running project ‘Tropical Night’ – he has been working on it since 2006 – he gives them shape. A-4’s, small ‘paintings’ (or should I call them drawings?), often brownish or reddish, each telling their own story. He hangs them unframed, next to or below one another. Depending on the space available to him, such a collective work can consist of between a hundred and three hundred parts. The composition can also alternate.
As a result, one component can be a scene in multiple stories. In fact ‘Tropical Night’ is a blueprint of the brain, the impression device and the emotions of the artist. Because they resist being recorded, refuse to hide behind one meaning or one explanation, ‘Tropical Night’ can be nothing other than an ongoing project. With it he presents a form of contemporary, visual history writing.
That urge to portray a contemporary history stems from his annoyance with the way in which history, namely colonial history, is usually dealt with. It contains many gaps. On many occasions things are omitted and painful historical facts especially, are glossed over or ‘white-washed’. Reality is violated. For political reasons. For opportunist personal reasons. That will not happen to him. He always takes notes of many things, so that he has access to a rich supply in order to give shape to his thoughts, to substantiate his ideas, to feed his creativity and provide his work with a solid legitimacy.

Christopher Cozier / PHOTO Courtesy Christopher Cozier

Christopher Cozier, title unknown / PHOTO Courtesy Christopher Cozier

Christopher Cozier has a special relationship with Suriname. In 2010 he assisted the organization of Paramaribo SPAN  – an exchange project between Rotterdam and Suriname –primarily by inspiring and guiding the Surinamese artists in such a way that they dared to stray from their usual paths. Surprising and sometimes unprecedented installations were the result. A year later he was part of the organizing team that worked on the major retrospective exhibition of the work of Marcel Pinas. Since then he has written several essays about Surinamese art(ists) and talks are underway about a new exhibition project in 2015.
Christopher Cozier is not only an exceptional artist, but he is also an original and strong willed critic and curator.

 

TEXT Rob Perrée, Amsterdam, March 2014

PHOTOS Courtesy Christopher Cozier

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

 

More information about Christopher Cozier and his art projects:

Uncomfortable: The Art of Christopher Cozier, a video about Christopher Cozier by Richard Fung, 2005

Draconian Switch no. 11, about Paramaribo SPAN, 2010

Wrestling with the Image: Caribbean Interventions, 2011

David Krut Projects, 2013

In Development, 2013 (essay by Nicholas Laughlin)

Gas Men, 2014

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Patricia Ma Ajong – Not to be confined to one category

March 26, 2015 at 7:04 pm (Outspoken) (, , , , , , , )

Patricia Ma Ajong in her booth at the International Rotterdam Art Fair 2014, with one of the paintings that is now in the CBK Zuidoost Collection / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong in her booth at the International Rotterdam Art Fair 2014, with one of the paintings that is now in the CBK Zuidoost Collection / PHOTO Courtesy Patricia Ma Ajong

The artist Patricia Ma Ajong cannot be confined to one category. Born in Suriname, ancestors from all corners of the world, lived in Paris for a long time, now living in the Netherlands, and currently back in Suriname for a few months. She is determined to do a lot of painting in the coming period.

‘Once I get into the flow of it, one idea after the other comes into my head.’ When Patricia begins working again, she does that by starting with a painting that she is not pleased with. ‘Then I talk to the canvas and say: “We are going to do something with you!”. I am rigorous, I occasionally torpedo the work. This almost always results in something good, but often the other one, the existing work, was also good.’ The artist laughs about it herself.  ‘With art works it is just as it is in life. Nothing stays the same, there is constant change. On the canvas, you immortalize the lost moments; you briefly hold on to them. That gives me some peace of mind.’

Patricia Ma Ajong, 'Watramama'' / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong, ‘Watramama” / PHOTO Courtesy Patricia Ma Ajong

A selection from the exhibitions of Patricia Ma Ajong that have been on display in Suriname.  In 2009 she had her first solo-exhibition in Suriname, in Galerie Steinhoff: Flying Eye. In 2011 she exhibited in Royal House of Art met Overeind staan (standing upright). This exhibition was subsequently on display at ‘Het Surinaamsch Rumhuis’ (also on Facebook). Soso Oso was on display in Gallery Sukru Oso, in 2012. In 2013 she also participated in the National Art Fair. Early 2014 she participated in the Fashion House 3d edition fashion show, in an original way: the models walked the catwalk not only in clothes, but also with Ma Ajong’s work.

Patricia Ma Ajong with Ton Smit from Stichting Stadsherstel with one of her works from the 'Oso'-series / PHOTO Patricia Ma Ajong

Patricia Ma Ajong with Ton Smit from Stichting Stadsherstel with one of her works from the ‘Oso’-series / PHOTO Patricia Ma Ajong

The theme that she was so successful with in Suriname, is that of the wooden houses that are so typical of the old inner city of Paramaribo. Initially she had hoped to be able to directly contribute to the restoration of the dilapidated houses through the sale of her works, but talks with the foundation ‘Paramaribo Stadsherstel’ assured her that this would be like a drop in the ocean. That is why she has now chosen to, where and when she can, by painting these beautiful, but often run-down homes, bring across a message of awareness to the Surinamese people about preserving this part of our heritage.

Patricia Ma Ajong, 'Liefde is het huis waarin we wonen' [Love is the house we live in]' / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong, ‘Liefde is het huis waarin we wonen’ [Love is the house we live in]’ / PHOTO Courtesy Patricia Ma Ajong

It means a great deal to Patricia that ‘Centrum Beeldende Kunst Zuidoost‘ (also on Facebook), in Amsterdam Zuidoost, the Netherlands) recently purchased three of her works, amongst which also a painting of a typical wooden house. ‘What could be better than having work of myself included and on display in the collection of this Surinamese stronghold in the Netherlands?’ It seems to be recognition of at least one part of her artistry, because the fact that she has Surinamese roots, in any case partially determines her identity.  But, as mentioned earlier, she cannot be placed into just one category. ‘I have also heard people say that they think that my work exudes a French atmosphere.’ Passion and love, women and birds: all universal themes that are also seen in the work of this artist. ‘What I paint is about life itself, what you experience, what I discover when I delve into the past… I love those things that I cannot put my hands on. That is what I try to express in my paintings.’

Patricia Ma Ajong, 'Kadanz' / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong, ‘Kadanz’ / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong, 'Market' / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong, ‘Market’ / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong, 'Justice' / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong, ‘Justice’ / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong, 'Crowd' / PHOTO Courtesy Patricia Ma Ajong

Patricia Ma Ajong, ‘Crowd’ / PHOTO Courtesy Patricia Ma Ajong

About the artist:

Visual art has always played an important role in the life of Patricia Ma Ajong (Paramaribo, 1960). It is only in recent years however, that she has been able to make her passion for art the center of her being. In the late eighties she studied graphic design in Paris, France. She lived in France for ten years, and after a period in Suriname and Indonesia, she currently lives in the Netherlands. In Jakarta, Indonesia she took courses in oil painting techniques. Several years ago she concluded a study at the ‘Vrije Academie’ in the Hague, the Netherlands. At this moment she is once again spending some time in her country of birth.

She sees her work as the logical outcome of the sum of all parts: her multi-cultural background and the many countries where she has lived and which she has visited. Her motto: ‘Art is the representation of the soul and the source.’

Website: www.maajongpatricia.com

TEXT Marieke Visser, Boxel, November 2014

Marieke Visser (Bennekom, the Netherlands, 1962) studied journalism and language and literature in the Netherlands. As publicist she writes a lot about art, culture, history and tourism from her own news agency Swamp Fish Press. Three large art projects to which she has recently contributed are: Wakaman Drawing lines, connecting dotsParamaribo SPAN and  Kibii Wi Koni Marcel Pinas The Event. She is currently editor in chief of Sranan Art Xposed.

TRANSLATION Cassandra Gummels-Relyveld, 2015

More about Patricia Ma Ajong on the Sranan Art blog can be found here.

The Dutch text was previously published in EFM Magazine (also on Facebook) vol. 4, no. 11, March 2015.

Cover

Cover

EFM Magazine vol. 4, no. 11, March 2015, Uitgesproken [Outspoken]

EFM Magazine vol. 4, no. 11, March 2015, Uitgesproken [Outspoken]

EFM Magazine vol. 4, no. 11, March 2015, Uitgesproken [Outspoken]

EFM Magazine vol. 4, no. 11, March 2015, Uitgesproken [Outspoken]

 

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An Eye for Art: Kit-Ling Tjon Pian Gi, ‘Born on the wrong date 1′

March 25, 2015 at 8:20 am (Uncategorized) (, , , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘Born on the wrong date 1’, acrylics on canvas, 30 cm wide x 60 cm high, 2012, from Kit-Ling Tjon Pian Gi.

Kit-Ling Tjon Pian Gi, ‘Born on the wrong date 1’, from the series ‘Short Stories’, acryl on canvas, 80 cm wide x 60 cm high, 2012 - USD / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Born on the wrong date 1’, from the series ‘Short Stories’, acryl on canvas, 80 cm wide x 60 cm high, 2012 – USD 650 / PHOTO Readytex Art Gallery/William Tsang

In 2012 Kit-Ling Tjon Pian Gi made a series of paintings which she named ‘Short Stories’. With short stories I would initially think of literature, not of visual art. Yet it turns out not to be such a strange title after all. Especially not for her. Language is a method of expression for artists as well. Her poems for example, are proof thereof.

The paintings in the series form a narrative. They are like short scenes from a story. This work is a good example thereof. In a realistic style Kit-Ling depicts a girl who walks through a street in Paramaribo. She walks alone. The sky looks somewhat turbulent. It’s quite windy. The yellow curtain is waving in the wind. It is not at all hard to think up a story. Where is she walking to? Is she as lonely as she seems? Is there a threat lurking?

What is striking is the red line that outlines her. Does that line continue? Is that a way to indicate that it is only a scene from a story? Does the story go on, just like how the red line creates the impression of an image that moves along, on its way towards the next scene?

Even more striking are the foreground and the blue sky. There are words written in them. Or at least the curly letters seem to form words. What is written exactly, is not clear. In the blue sky a bit of puzzle work might turn up something. The words on the street do not go beyond a suggestion of words. I don’t think it is important whether I can or cannot read those words. They symbolize the narrative character of the work. And above all, they symbolize the open content: Tjon Pian Gi appears to give the viewers the liberty to use their imagination and give it their own interpretation.

In a lot of her work Tjon Pian Gi showcases the diversity of the Surinamese culture. In this work she transcends the local and takes on a more universal theme. Could that girl not have been walking in any random city, in any other country?

 

TEXT Rob Perrée, Amsterdam, March 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

Want to see this and other work of Kit-Ling Tjon Pian Gi ‘up close and personal’? That’s possible at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo. www.readytexartgallery.comFor more information about Kit-Ling Tjon Pian Gi please visit the website http://readytexartgallery.com/kitlingtjonpiangi.

Print

Kit-Ling Tjon Pian Gi also published two books, still available at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo.

De kracht van vrouwen/The Strength of Women

KL F

More work by Kit-Ling Tjon Pian Gi available in Readytex Art Gallery:

Kit-Ling Tjon Pian Gi, ‘Woman Artist 3’, conte on paper, 70 cm wide x 100 cm high, year unknown - USD 550 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Woman Artist 3’, conte on paper, 70 cm wide x 100 cm high, year unknown – USD 550 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Krabu Owrukuku - A pa nanga a boi’ [Owls - The father and the son], acryl on wood, 30 cm wide x 30 cm high, 2014 - USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Krabu Owrukuku – A pa nanga a boi’ [Owls – The father and the son], acryl on wood, 30 cm wide x 30 cm high, 2014 – USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Vermont Impressions II’, acryl on glass, 64 cm wide x 66 cm high, 2012 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Vermont Impressions II’, acryl on glass, 64 cm wide x 66 cm high, 2012 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Mercredi des Cendres 9 Witch 2’, acryl on wood, 30 cm wide x 30 cm high, year unknown - USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Mercredi des Cendres 9 Witch 2’, acryl on wood, 30 cm wide x 30 cm high, year unknown – USD 275 / PHOTO Readytex Art Gallery/William Tsang

For the project The Strength of Women Kit-Ling Tjon Pian Gi made a video production. This is a fragment:

Several other short videos by Kit-Ling Tjon Pian Gi:

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on March 25, 2015 and was published in Kunst en Cultuur in de Ware Tijd on March 25, 2015.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

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An Eye for Art: Roddney Tjon Poen Gie, ‘Zebra’

March 11, 2015 at 6:18 pm (An Eye for Art) (, , , , , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘Zebra’, painted driftwood, 216 cm long x 112 cm high x 86 cm wide, 2009, by Roddney Tjon Poen Gie.

Roddney Tjon Poen Gie, ‘Zebra’, painted driftwood, 216 cm long x 112 cm high x 86 cm wide, 2009 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Zebra’, painted driftwood, 216 cm long x 112 cm high x 86 cm wide, 2009 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Zebra’, painted driftwood, 216 cm long x 112 cm high x 86 cm wide, 2009 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Zebra’, painted driftwood, 216 cm long x 112 cm high x 86 cm wide, 2009 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

I saw this sculpture for the first time in a photograph made in Readytex Art Gallery’s space. Lying on the ‘back’ of the sculpture was a woman, apparently dying with laughter. An unusual sight, because as a visitor you’re supposed to view a work of art from a respectful distance. Whoever determined that it should be so, nobody really knows anymore. That is the museum code. That code is held sacred above and beyond any discussion. Or so it seems.

Roddney Tjon Poen Gie (Paramaribo, 1962) is a serious artist, but he doesn’t seem to give much consideration to the code. That can be concluded from the way in which he works. Over ten years ago he made a sculpture on the water’s edge – a Chinese dragon. That sculpture consisted of pieces of scrap wood or drift wood that he found in the surrounding area and attached to existing beach poles. When he was asked some time later what remained of that artwork, he answered laconically, that certain pieces might still exist, but that due to the moisture and the heat such work was inevitably fleeting. The water was the source of inspiration, the water was then also allowed to reclaim it.

That same level-headed mentality explains why his animal sculptures always originate from existing pieces of wood. The shape of that wood determines the identity of the animal. The shape of the wood stimulates his creativity. Although he has a preference for Chinese dragons – he is partly Chinese – , most of his animals look more animal-like or more like fantasy animals, than like anything corresponding to reality. Sometimes it is the way in which he paints them that determines the association that the viewer has with it. I am under the impression that he consciously plays on, or guides, this association with his titles. This sculpture is titled ‘Zebra’, just as logical as it is illogical. Because of the black and white it is, at quick a glance, reminiscent of a zebra, but the shape is completely different from that of a zebra.

In many of his works the bright colors are what entice the viewer to delve further into  them. That is not the case in this work. This work apparently invites the viewer to touch and, as can be seen in the photograph: to use as a type of climbing device.

Alida at RAG 120919 (17)

Alida Neslo horsing around with ‘Zebra’ / PHOTO Ada Korbee

 

TEXT Rob Perrée, Amsterdam, January 2015

TRANSLATION Cassandra Gummels-Relyveld

Want to see this and other work of Roddney Tjon Poen Gie ‘up close and personal’? That’s possible at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo, Suriname, www.readytexartgallery.com. For more information about Roddney Tjon Poen Gie please visit the website http://readytexartgallery.com/roddneytjonpoengie.

Print

A previous edition of ‘An Eye for Art’ about Roddney Tjon Poen Giewas published on this blog here.

Roddney Tjon Poen Gie also did an artist residency in Moengo, in 2014. He made an installation there, ‘Bagua’, inspired by Feng shui philosophy.

Roddney Tjon Poen Gie on his 'Bagua'-installation in Moengo / PHOTO Courtesy Roddney Tjon Poen Gie, 2014

Roddney Tjon Poen Gie on his ‘Bagua’-installation in Moengo / PHOTO Courtesy Roddney Tjon Poen Gie, 2014

More work by Roddney Tjon Poen Gie available in Readytex Art Gallery:

Roddney Tjon Poen Gie, 'Submerged', acrylic on wood, 80wx85hx55d, 2014 - USD 350 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Submerged’, acrylic on wood, 80wx85hx55d, 2014 – USD 350 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Pedestal 5’, acryl on cardboard tube, 18x61x18cm, 2011 - USD 2011 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Pedestal 5’, acryl on cardboard tube, 18x61x18cm, 2011 – USD 2011 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, 'Lifebuoy', acrylic on driftwood, 110wx79h, 2010 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Lifebuoy’, acrylic on driftwood, 110wx79h, 2010 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, 'Guards', acrylic on wood, 90wx170hx60d, 2009 - USD 1200 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Guards’, acrylic on wood, 90wx170hx60d, 2009 – USD 1200 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, 'Drager' [Carrier], acrylic on wood, 101wx102hx9d, 2009 - USD 700 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Drager’ [Carrier], acrylic on wood, 101wx102hx9d, 2009 – USD 700 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, 'Seduction', acrylic on canvas, 132wx92h, 2009 - USD 785 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Seduction’, acrylic on canvas, 132wx92h, 2009 – USD 785 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, 'Missing link', acrylic on canvas, 190wx150h, 2009 - USD 1200 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Missing link’, , acrylic on canvas, 190wx150h, 2009 – USD 1200 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Gaurdians’, acryl on canvas, 95x110cm, 2009 - USD 700 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Gaurdians’, acryl on canvas, 95x110cm, 2009 – USD 700 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Afaka mask II’, mahogany, 13x23x4cm, 2009 - USD 225 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Afaka mask II’, mahogany, 13x23x4cm, 2009 – USD 225 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Indigenous Conception I’, mixed media on paper, 23x54cm, 2005 - USD 150 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Indigenous Conception I’, mixed media on paper, 23x54cm, 2005 – USD 150 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Indigenous Conception II’, mixed media on paper, 30x44cm, 2005 - USD 150 / PHOTO Readytex Art Gallery/William Tsang

Roddney Tjon Poen Gie, ‘Indigenous Conception II’, mixed media on paper, 30x44cm, 2005 – USD 150 / PHOTO Readytex Art Gallery/William Tsang

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on March 11, 2015 and was published in Kunst en Cultuur in de Ware Tijd on March 11, 2015.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

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Back to Basics: the ‘Oneliners’ of Els Tjong Joe Wai

March 2, 2015 at 4:18 pm (A Close Look) (, , , , )

Invitation

Invitation

What: Oneliners, an exhibition by Els Tjong Joe Wai

When: March 6, 7 & 8, 2015, 19:00-22:00 hrs. Opening March 6, 19:00 with performance by Tolin Alexander

Where: Sukru Oso, Cornelis Jongbawstraat 16a, Paramaribo, Suriname

 Els Tjong Joe Wai in front of a work that was on display in a previous exhibition,  Zonder titel  [Untitled] / PHOTO Marieke Visser, 2014


Els Tjong Joe Wai in front of a work that was on display in a previous exhibition, Zonder titel [Untitled] / PHOTO Marieke Visser, 2014

Back to basics. For artist Els Tjong Joe Wai this is her way of maneuvering through life’s rapids. She has done turnarounds a few times before. For example: suddenly breaking up in Greece where she had been living contently for many years, running a gallery, doing great artistically speaking, to return to Suriname because this is where love was calling. “Whenever I change direction, it is very important to me to go all the way back to basics. Back to pencil or ink, and paper. And then it becomes clear that what you had thought of as a transitionary phase, actually produces very nice work.”

After an intense change of direction – the sudden passing of her loved one – she once again reverted back to the basics. After the initial mourning, the feeling of wanting to do ‘something’ again, hesitantly crept upwards. But what? And where to begin? “I also make objects, so I didn’t necessarily have to start painting or drawing. I could also have started sticking or pounding or gluing things. But I thought: keep it simple. Just begin with a pencil. Just start with a line. That was very liberating. And thus entirely new work came into existence.”

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

She calls this new work her ‘one-liners’. Although this word is something out of linguistics, she does feel that it fits well here: it is after all a clear and straightforward image. Her one-liners are done on beautiful drawing paper and she also uses paper made from banana leaves. She gets the latter from the Matoekoe foundation in Lelydorp. The drawings are made with ink and a drawing pen. Although she certainly likes different colors as well, Tjong Joe Wai currently prefers working with black because she feels that the sobriety of it is most compelling to the work she makes now.

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

A small ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper' by Els Tjong Joe Wai / PHOTO Marieke Visser, 2015

A small ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’ by Els Tjong Joe Wai / PHOTO Marieke Visser, 2015

The one-liners are small, in postcard dimensions, but there are also larger ones, measuring up to A-3 in size. She started large and felt comfortable doing so. But afterwards she discovered that working small was actually very exciting and that she could be much more stylized in those. With the smaller one-liners especially, she uses a magnifying glass to avoid the risk of lines touching one another where they are not intended to.

Els Tjong Joe Wai loves working on paper. The one-liners may have been born out of a difficult period, but they give her much pleasure.

At her next exhibition – which is planned for March 7 &8 2015  –  she will show her one-liners and also several watercolors. It will be her second exhibition in  Suriname. The first one, named Zonder titel (without title), took place in December of 2011 and it was the exhibition at which she introduced herself as an artist in her own country.

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Her book, Zonder title [Untitled], is still available at Book store Vaco (also on Facebook) and at Readytex Art Gallery (also on Facebook).

'Zonder Titel / Untitled', cover

‘Zonder Titel / Untitled’, cover

Els Tjong Joe Wai (Paramaribo, 1952) went to the Ruudt Wackers art academy (also on Facebook) in Amsterdam, 1998-2001. From 2001 to 2009 she lived in Aeropolis, Greece. In 2009 she moved back to Suriname as visual artist and opened Art Gallery Sukru Oso in 2011.

Els Tjong Joe Wai in front of a work that was on display in a previous exhibition,  Zonder titel  [Untitled] / PHOTO Marieke Visser, 2014

Els Tjong Joe Wai in front of a work that was on display in a previous exhibition, Zonder titel [Untitled] / PHOTO Marieke Visser, 2014

TEXT Chandra van Binnendijk, 2014

Chandra van Binnendijk (Paramaribo, 1953) is editor and publicist. From 1977 until 1988 she was part of the news editors of various newspapers and radio stations, and was a correspondent for various Caribbean media. After ten years she said goodbye to active journalism and is since focusing mostly on culture, art and history. She has co-written several art publications amongst which  Twintig jaar beeldende kunst in Suriname 1975 – 1995 (Amsterdam, KIT Publishers, 1995) and she was author and compiler of the art catalog Zichtbaar (Paramaribo, 2005) about the art collection of De Surinaamsche Bank. Recent publications in which she was involved as co-author and co-compiler are Bouwstenen voor een betere wereld. 250 jaar vrijmetselarij in Suriname (Paramaribo, 2011) and TOR. A People’s Business (Paramaribo, 2012).

TRANSLATION Cassandra Gummels-Relyveld, 2014

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Sunil Puljhun – Cheerful watercolors, a new direction?

February 27, 2015 at 2:24 pm (Outspoken) (, , , , , , , , )

Artist Sunil Puljhun is exploring an entirely different direction. Predominantly black, somber canvases with acrylic paint and collages, have been exchanged for cheerful watercolors and laughing Hindustani dancers.   

Sunil Puljhun, 'Dans 1' [Dance 1], acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Dans 1′ [Dance 1], acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, 'Dans 2' [Dance 2], acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Dans 2′ [Dance 2], acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

For a long time Sunil Puljhun was focused on universal problems, especially those of the youth. He used mixed media, amongst which sand with dark acrylic paint. He also used various techniques: a combination of collage techniques and painting.

Sunil Puljhun, ‘A Cry 1’, digital, printed on canvas, worked on with acrylic paint, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘A Cry 1’, digital, printed on canvas, worked on with acrylic paint, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘A Cry 2’, digital, printed on canvas, worked on with acrylic paint, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘A Cry 2’, digital, printed on canvas, worked on with acrylic paint, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

In 2010 he participated in a large exhibition in the gardens of De Surinaamsche Bank N.V., Paramaribo SPAN. ‘For me that was a platform that helped me to become more daring. It was a very positive experience. The installation I made for this exhibition, ‘Time Will Tell’, was a very challenging work. I dared to give my thoughts free rein. Paramaribo SPAN helped me to move forward.’

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Sunil Puljhun in front of ‘Time Will Tell’ / Photo Courtesy Sunil Puljhun

 

 

Sunil Puljhun in front of a work from the series 'The Weight of Darkness' / Photo Courtesy Sunil Puljhun

Sunil Puljhun in front of a work from the series ‘The Weight of Darkness’ / Photo Courtesy Sunil Puljhun

The large turnaround came after his solo exhibition The Weight of Darkness in De Hal, in 2011. It dealt with subjects from all around the world: power, greed, violence. ‘I thought to myself: what should I do now? I was stuck and wondered: how do I go further?’ Suddenly he applied the theme of colleague artist Marcel Pinas, “kibri a kulturu” (preserve the culture), to himself. ‘As a Hindustani artist, what do I see from my own culture? As he asked for explanations surrounding the background of several rituals from Indian culture, he received no satisfying answers. ‘For me, the choice for this theme, has to do with culture preservation as well. If you ask young people nowadays what for example kathak is, they don’t know.’

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture  and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture  and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture  and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture  and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

The cultural heritage of hinduism is so vast that the artist quickly chooses to delineate the field and start his research on the subject of dance. At the department ‘Cultuurstudies’ he read about everything related to it: facial expressions, finger positions, the clothing, the  origins …

Early in 2014 Sunil went to Belgium for a residency of one month, at GLO’ART (also on Facebook), a ‘global art center’. He had hoped to continue working in the new direction he had recently started on. ‘They had however, selected me based on older work and at GLO’ART (also on Facebook) they wanted me to continue working in that manner.’ Initially a disappointment, but he quickly decided to make the best of it and this ultimately resulted in a beautiful series of enhanced digital prints. ‘A few years ago I took a workshop in photography from Peter Thielen. I started working on top of canvases with photos printed on them.’

Sunil Puljhun, ‘Fear’, digitally enhanced photo on canvas, 80x150 cm, 2014, created in the context of Glo’ Art / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Fear’, digitally enhanced photo on canvas, 80×150 cm, 2014, created in the context of Glo’ Art / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Life cycle’, charcoal and acrylic paint on paper, 80x150 cm, 2014, created in the context of Glo’ Art / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Life cycle’, charcoal and acrylic paint on paper, 80×150 cm, 2014, created in the context of Glo’ Art / Photo Courtesy Sunil Puljhun

Sunil Puljhun, title unknown, acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, title unknown, acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Once back in Suriname however, he became once again engrossed in the new theme. Aside from dance, other elements were gradually added, such as the Hindi script, the gods, the flags, the rituals surrounding death. He is preparing himself for a solo exhibition in 2015. He presented a number of these new works at the opening of the new location of Readytex Art Gallery (also on Facebook) in February 2015.

About the artist:

From a very early age, Sunil Puljhun (Paramaribo, 1978) made posters which he sold in his neighborhood in order to earn money to pay for school. Encouraged by art teacher Djiman and various family members, he started lessons at the Nola Hatterman Art Academy (NHAA) halfway through the nineties. He graduated from this institute in 1999 and is currently a teacher there. He is affiliated with the Readytex Art Gallery (also on Facebook).

Since 2001 he has participated in the National Art Fair every year. In 2009, Sunil Puljhun participates in the group exhibition Multiculturalism, in Villa Nuts, the Hague, in the Netherlands, together with colleagues Remond Mangoensemito (and more), Ravi Rajcoomar (also blogging) and Raul Wongsodihardjo. During this period he also spends time working as an art teacher at the  Gerrit Rietveld Academie (GRA) in Amsterdam, as part of the exchange program between the GRA and the NHAA in Paramaribo.

 

TEXT Marieke Visser

Marieke Visser (Bennekom, the Netherlands, 1962) studied journalism and language and literature in the Netherlands. As publicist she writes a lot about art, culture, history and tourism from her own news agency Swamp Fish Press. Three large art projects to which she has recently contributed are: Wakaman Drawing lines, connecting dotsParamaribo SPAN and  Kibii Wi Koni Marcel Pinas The Event. She is currently editor in chief of Sranan Art Xposed.

TRANSLATION Cassandra Gummels-Relyveld

The Dutch text was previously published in EFM Magazine (also on Facebook) vol. 3, no. 10, November 2014. Several months later, February 2015, Sunil Puljhun has decided to go back to his earlier themes & techniques. If you’re in Suriname, stop by at Readytex Art Gallery (also on Facebook) to see (and purchase) his work in real life. Steenbakkerijstraat 30, Paramaribo, Suriname.

EFM Magazine vol. 3, no. 10, November 2014

EFM Magazine vol. 3, no. 10, November 2014

EFM Magazine vol. 3, no. 10, November 2014, Uitgesproken [Outspoken]

EFM Magazine vol. 3, no. 10, November 2014, Uitgesproken [Outspoken]

EFM Magazine vol. 3, no. 10, November 2014, Uitgesproken [Outspoken]

EFM Magazine vol. 3, no. 10, November 2014, Uitgesproken [Outspoken]

 

 

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An Eye for Art: George Struikelblok – ‘Wan Tranga Famiri′

February 26, 2015 at 10:06 am (An Eye for Art) (, , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week ‘Wan Tranga Famiri’, mixed media on canvas, 35 cm wide x 60 cm high, 2009, by George Struikelblok.

George Struikelblok, ‘Wan Tranga Famiri’, mixed media on canvas, 141 cm wide x 208 cm high, 2009 - USD 2500 / PHOTO  Readytex Art Gallery/William Tsang

George Struikelblok, ‘Wan Tranga Famiri’, mixed media on canvas, 141 cm wide x 208 cm high, 2009 – USD 2500 / PHOTO Readytex Art Gallery/William Tsang

Recently a ‘Giant Painting’ was installed in the departure hall of the Johan Adolf Pengel airport at Zanderij. Led by George Struikelblok (Paramaribo, 1973) – in his capacity as chairman of the Federation of Visual Artists in Suriname (FVAS) – 30 Surinamese artists contributed to this enormous painting. The result: a colorful jumble of images, which make it hard to recognize the work of the individual artists. A true collaborative project, in more ways than one. Because the project generated a lot of publicity, I could look at it without having actually seen it in real life. It did not surprise me that I was still able to immediately recognize Struikelblok’s contribution. He has a signature style that works almost like a company logo. Black outlined figures referring to people, blank heads, letters and numbers lost somewhere on the canvas, like a puzzle asking to be solved, rows of ‘teeth’ placed vertically or horizontally elsewhere on the surface, and perhaps most importantly: mobile multiple colors.

This painting is a good example thereof. The light blue background pushes the central image towards the front. This is made up of much more intense colors. Bright red, green and black dominate. Because Struikelblok paints in a seemingly sloppy way – there are no neat lines that fully connect, ‘spilled’ drops can be seen all over, forms run over or through each other – a dynamic is created that seduces and sparks curiosity.

Because his paintings are always somewhere between abstract and figurative, it is always guessing what exactly you see, or rather what you see in it. At first sight it is to me, a passionate embrace between two lovers. The sparks fly off of it. From some distance, but still quite close by: two other figures that seem to observe. In any case they radiate less energy. The title however, ‘Wan Tranga Famiri’ (Strong family), refers to a close-knit family. These figures could then be, or must be, the children of the excited pair. That is the downside of titles. They take away a part of your freedom. I would have preferred to see those other two in a competitive or an envious role …

Struikelblok uses love as his main theme for quite a while now. With that he has not made it any easier for himself. Somebody once said: happiness is the death of art. Because of his way of painting, because of the emotional impact of his paintings, because of the strength of his images, he has been able to, for now, refer that statement to the land of fiction.

 

TEXT Rob Perrée, Amsterdam, February 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

Want to take a closer, personal look at this work? That’s possible at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo. www.readytexartgallery.comFor more information about George Struikelblok please visit the website http://readytexartgallery.com/georgestruikelblok.

Print

A previous edition of An Eye for Art about George Struikelblok can be read here:

https://srananart.wordpress.com/2014/07/02/an-eye-for-art-george-struikelblok-lob-makandra-2/ 

NOTE! This work has been sold.‘Lob Makandra 2’, mixed media on canvas, 35 cm wide x 60 cm high, 2012 - USD 350 / PHOTO Readytex Art Gallery/William Tsang

‘Lob Makandra 2’, mixed media on canvas, 35 cm wide x 60 cm high, 2012 – SOLD / PHOTO Readytex Art Gallery/William Tsang

More work by George Struikelblok available in Readytex Art Gallery (also look at the page Owner 2 Owner):

George Struikelblok, ‘Den Lobi Wan’, mixed media on canvas, 225 cm wide x 151 cm high, year unknown - USD 2500 / PHOTO  Readytex Art Gallery/William Tsang

George Struikelblok, ‘Den Lobi Wan’, mixed media on canvas, 225 cm wide x 151 cm high, 2012 – USD 2500 / PHOTO Readytex Art Gallery/William Tsang

George Struikelblok, 'We tan nanga makandra', mixed media on canvas, 150 cm wide x 150 cm high, 2011 - USD 1300 / PHOTO Readytex Art Gallery/William Tsang

George Struikelblok, ‘We tan nanga makandra’, mixed media on canvas, 150 cm wide x 150 cm high, 2011 – USD 1300 / PHOTO Readytex Art Gallery/William Tsang

George Struikelblok, 'Mi lobi yu', mixed media on canvas, 57 cm wide x 145 cm high, 2013 - USD 800 / PHOTO Readytex Art Gallery/William Tsang

George Struikelblok, ‘Mi lobi yu’, mixed media on canvas, 57 cm wide x 145 cm high, 2013 – USD 800 / PHOTO Readytex Art Gallery/William Tsang

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on February 26, 2015 and was published in Kunst en Cultuur in de Ware Tijd on February 26, 2015.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

 

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Reducing the distance – Razia Barsatie

February 17, 2015 at 3:44 pm (A Close Look) (, , , , )

On October 1st Razia Barsatie started her period as artist in residence at Tembe Art Studio (TAS) in Moengo. The relationship between the artist and Moengo however, had started much earlier. Razia was a student at the Gerrit Rietveld Academie in the Netherlands from 2008 until 2012. At that that time, while doing an internship in Suriname, she already visited Tembe Art Studio. Her colleague Ravi Rajcoomar was then the artist in residence there.

Invitation for unveiling installation by Razia Barsatie

Invitation for unveiling installation by Razia Barsatie

Since her return to Suriname, now a little over two years ago, Razia has made the trip to this former mining town in the district of Marowijne, many times. She also helped there during the Moengo Festival of Theater & Dance in September 2014, and she is already part of the team working on the preparations for the Moengo Visual Arts Festival of 2015. “I just love driving to Moengo. I often do so alone. Then I simply enjoy the surroundings and the rest and the opportunity to just think about all kinds of things.” That others often ask if she isn’t afraid to go to Moengo and especially to make the drive all by herself – which incidentally she is not at all – has put her to thinking. “People know so little about Moengo. What they do know, is what they see in the press, and that is often only the negative news. But there is so much that is positive. But the distance is an obstacle. Because of that the negative seems closer and the positive is kept at a distance. That is unfortunate.”

A sketch for the installation / PHOTO Cassandra Gummels-Relyveld, 2014

A sketch for the installation / PHOTO Cassandra Gummels-Relyveld, 2014

When the opportunity for her own artist in residence period came along, Razia knew immediately that this would be her subject for the artwork she would leave behind in Moengo. That artwork does not stand there yet. The concept is ready, the choice of materials is for the main part complete, but there are some questions still surrounding the execution. It is after all not a simple object. The art installation that Razia will leave behind in the art park at Moengo is a very large telescope. And preferably one that really works. The telescope will stand there as a symbol of reducing the distance; of bringing the positive closer. The positive side of Moengo should be clearly visible for anyone daring to take a closer look. Distance should not be an obstacle when you want to discover something new.

According to the original concept, the four meter long telescope will be positioned on top of a hill in Moengo, directed towards a beautiful spot or object in the area. The telescope will be ‘carried’ by two human figures covered on the outside with bauxite stones from the area. That the telescope will come, that is certain. Whether it is an actual magnifying telescope depends on the results of Razia’s search for the appropriate telescopic glass. And where exactly it will stand, and whether it will be on a hill, is something that will be determined very soon. “For now there is still a  plan A, a plan B, etc, etc …”, says the artist. “Because if you have an idea, you should just go for it. Eventually you will find a solution for everything. Where that is concerned I always keep a few alternatives in mind”.

This way of thinking is something that Razia has taken with her from her studies at the Gerrit Rietveld Academie. “There they put great emphasis on the conceptual. You learn that the idea, the concept, is very important, and not so much the execution”. Razia is indeed very much focused on the conceptual when it comes to her art. She specialized in video art at the Rietveld academy, but she is also very interested in installation art. Regardless of the medium that she chooses however, it is always the concept that takes precedence in her work. That was already clearly visible at her first solo exhibition in Suriname called Anxious, where in addition to video animations, she also showed a wrought iron installation. It is also clear in more recent projects (in French Guyana and at Het Surinaamsch Rumhuis of the SAB for example) where she incorporated aromatic spices in her art. The addition of scent makes a much broader sensory experience of the artwork and this is something that Razia intends to experiment with further.

An installation with fresh peppers, made by Razia Barsatie in French Guyana during an Inter Guyanese Cultural festival. “What was important to me: the scent of pepper coming from the installation. The scent was actually the work of art; the patterns were just presentation.” / PHOTO Courtesy Razia Barsatie

An installation with fresh peppers, made by Razia Barsatie in French Guyana during an Inter Guyanese Cultural festival. “What was important to me: the scent of pepper coming from the installation. The scent was actually the work of art; the
patterns were just presentation.” / PHOTO Courtesy Razia Barsatie

An installation with fresh peppers, made by Razia Barsatie in French Guyana during an Inter Guyanese Cultural festival. “What was important to me: the scent of pepper coming from the installation. The scent was actually the work of art; the patterns were just presentation.” / PHOTO Courtesy Razia Barsatie

An installation with fresh peppers, made by Razia Barsatie in French Guyana during an Inter Guyanese Cultural festival. “What was important to me: the scent of pepper coming from the installation. The scent was actually the work of art; the
patterns were just presentation.” / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Razia has also introduced an interesting concept during the art lessons that she gives to the children in Moengo and surroundings as part of her residency. Instead of the standard drawing lessons, she makes short animation films with the children using drawings that they have made. In the films the children act out their own stories, visually as well as vocally. The concept was received with much enthusiasm by the kids. They start with a full-color drawing of a favorite place from their own surroundings, followed by a drawing of themselves. The latter is then cut out and glued to a pencil so that the figures can then be moved against the background of the first drawing. The children are divided in groups and together they make up a story which they play out and which is then filmed by Razia. The creativity of the children is thus stimulated on different levels and they learn to work together effectively. “The children really enjoy doing this. Sometimes they don’t even want to go home.” Razia hopes to also present the results of this project at the upcoming Moengo Visual Arts Festival in 2015.

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The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

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The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

Sometime in January the artwork of Razia Barsatie will proudly stand on the spot that the artist has ultimately chosen for it. People from Moengo, young and old, visitors, and others from the surroundings, will curiously look through the glass of the telescope to see what it is that Razia wants them to see. It will surely be something special. Because if you dare to take a good look, and don’t get scared away by distances, there is a lot that is worth discovering, and certainly in Moengo. Good luck Razia!

Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

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Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

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Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

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Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

 

TEXT Cassandra Gummels-Relyveld

Cassandra Gummels-Relyveld is a freelance writer. Aside from her work for Sranan Art Xposed, she writes primarily for the Readytex Art Gallery in Paramaribo, Suriname. She writes press releases, website texts and takes care of the publicity materials surrounding the exhibitions and other activities of the gallery.

On the Sranan Art Flickr-page please find an album with photos by Peter Thielen and Cassandra Gummels-Relyveld of the presentation of Razia Barsatie‘s installationSan e soi faawe e kon koosube’ (‘Iets wat ver lijkt is eigenlijk dichtbij’ or ‘Something that seems far away is actually nearby’) on February 15, 2015, in Moengo, Marowijne district, Suriname.

A video registration from the unveiling of Razia Barsatie’s installation, February 15, 2015, by Peter Thielen: Razia Barsatie – ‘San e soi faawe e kon koosube’, Moengo, Marowijne, Suriname

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An Eye for Art: Hanka Wolterstorff – ‘De golfslag van Coronie’

February 11, 2015 at 12:14 pm (An Eye for Art) (, , , , , , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘De golfslag van Coronie’ [The waves of Coronie], ceramics, 60 cm wide x 38 cm high x 32 cm deep, 2011, from Hanka Wolterstorff.

Hanka Wolterstorff, 'De golfslag van Coronie’ [The waves of Coronie], ceramics, 60 cm wide x 38 cm high x 32 cm deep, 2011 - USD 300 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘De golfslag van Coronie’ [The waves of Coronie], ceramics, 60 cm wide x 38 cm high x 32 cm deep, 2011 – USD 300 / PHOTO Readytex Art Gallery/William Tsang

Whether as an art lover you like it or not, the traditional boundaries of art are gradually blurring under the influence of the internet and social media. Many young people in particular, are not concerned about whether something is art, or is considered art, or not. They are faced with so many images on a daily basis, that they see them as one large image databank, which you can tap into freely. Because you consider it beautiful, cool, or because it speaks to you for some other reason. And then there are so many accessible gadgets and devices easily within reach, that anyone can make a film or a photograph. So how so artist? The boundaries between artists and handy amateurs are fading as well.

On the other hand there are increasingly more artists who use art forms that previously belonged more to well meaning amateurs. There is currently much knitting, embroidering, crocheting, sculpting and  knotting of carpets going on. These developments are not only inevitable, they are also interesting, because artists force themselves to think and operate differently. They are interesting because they increasingly refer the artificial differences between ‘high art’ and ‘low art’ to the past.

For those free-thinking viewers and artists, it would be good to take notice of the work of an artist such as Hanka Wolterstorff (Hoorn, 1943).  She knows how to use ‘ordinary’ clay to make objects such as this ‘De golfslag van Coronie’ [The waves of Coronie] from 2011. Objects that seem to move, that suggest rather than copy the reality, that regardless of their sometimes compact and tough material can express a lightness and a vulnerability, and which are capable of seducing the viewer without adapting to conventional tastes. In short, she knows how to make the most of the quality and the characteristics of her material, in an inventive and creative way.

Although she uses a lot of colors in some of her other objects, for this work she choose only a limited amount of dark colors, which do however harbor many nuances within. Similar to how water can also be colorful in its apparent monotony.

TEXT Rob Perrée, Amsterdam, February 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

Want to see this and other work of Hanka Wolterstorff ‘up close and personal’? That’s possible at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo. www.readytexartgallery.comFor more information about Hanka Wolterstorff please visit the website http://readytexartgallery.com/hankawolterstorff.

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More work by Hanka Wolterstorff available in Readytex Art Gallery:

Hanka Wolterstorff, 'Llama', ceramics, 26wx33hx25d cm, 2014 - USD 200 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘Llama’, ceramics, 26wx33hx25d cm, 2014 – USD 200 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, 'Untiltled I', ceramics, 2007 - USD 125 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘Untiltled I’, ceramics, 2007 – USD 125 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, 'Vaas', ceramics, 28wx31hx18d cm, 2014 - USD 300 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘Vaas’, ceramics, 28wx31hx18d cm,
2014 – USD 300 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, 'Speelbal van de natuur', ceramics, 40wx35hx30d cm, 2011 - USD 250 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘Speelbal van de natuur’, ceramics, 40wx35hx30d cm, 2011 – USD 250 / PHOTO Readytex Art Gallery/William Tsang

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on February 11, 2015 and was published in Kunst en Cultuur in de Ware Tijd on February 11, 2015.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

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Jews in the Caribbean. Four Centuries of History in Suriname and Curacao

February 1, 2015 at 11:22 am (A Close Look) (, , , , , , , , , , , , , , , , , , , )

On January 30, 2015 the Jewish Historical Museum in Amsterdam, the Netherlands, opened with a new exhibition: Jews in the Caribbean. Four Centuries of History in Suriname and Curacao. For the first time an extensive exhibition will shed light on the rise and fall of the Jewish communities in countries such as Brazil, Curaçao and Suriname.

The exhibition will be open from January 30 until June 14, 2015.

Jews in the Caribbean. Four Centuries of History in Suriname and Curacao

Jews in the Caribbean. Four Centuries of History in Suriname and Curacao

The sponsors of the exhibition

The sponsors of the exhibition

Although this is not an event about visual arts, we still feel it is good to share this with our Sranan Art Xposed audience. Sasha Dees offered to share her photos with us and so we are grateful to share these with you.

This exhibition is about an important part of Surinamese history. The presence of Jewish people in the Caribbean has added many flavors and colors to the fabric of our culture as we know it today.

Also, this year, we, the SAX Team, want to take a closer look at museums and how they display/share their collection.

Opening night 'Jews in the Caribbean', Cindy Kerseborn on the right / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Cindy Kerseborn on the right / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Dorien van Hinte-Rustwijk / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Dorien van Hinte-Rustwijk / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Eddy Wijngaarde in the background / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Eddy Wijngaarde in the background / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Ellen Tjon A Meeuw / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Ellen Tjon A Meeuw / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Jennifer Smit / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Jennifer Smit / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', John Leerdam and friend / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, John Leerdam and friend / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Mike Ho Sam Sooi / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Mike Ho Sam Sooi / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Nancy Jouwe and Gianni Campbell / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Nancy Jouwe and Gianni Campbell / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean' / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’ / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Pearl Dias / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Pearl Dias / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Rudy  Chotoe and partner / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Rudy Chotoe and partner / PHOTO Sasha Dees, 2015

PHOTOS Sasha Dees, 2015

Sasha Dees: “I want to provide a platform for emerging artists who push limits, cross borders and break down barriers. Art for me is about communication, confronting people without imposing, and creating a dialogue that offers a different perspective. I am interested in the collaboration between different cultures, traditions, genders and between the various art disciplines. All art disciplines are equally important to me –performing arts, visual arts, new media, literature and film. I work with artists who experiment with the classical art forms, who mix them up and break them down– not to destroy, but to analyze, re-use and build something new.”

Sasha lives for the arts. She has 15 years of experience as an international cultural producer and curator working on numerous projects in all art disciplines. She was one of the pioneers in rebuilding the cultural exchange between The Netherlands and Suriname (Caribbean). She also works with American artists and organisations: curating and scouting American talent for European venues and festivals as well as initiating, producing and/or advising on art and cultural exchanges and international collaborations.

Next to her own projects she founded- together with Philip Powel- the not for profit organisation for the arts John106.

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A blog post by Peter Sanches about the exhibition (Dutch language) can be found here: http://mofokoranti.nl.

Article about exhibition in 'De Telegraaf', February 2, 2015

Article about exhibition in ‘De Telegraaf’, February 2, 2015

On YouTube an interview with curator Julie-Marthe Cohen (Jewish Historical Museum) about the exhibition Jews in the Caribbean.  

Als on YouTube: a promo video for ‘A kippah in the Caribbean’, a video production by Tanja Fraai and Mike Ho-Sam-Sooi.  

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